“the strong musical performances saved this damned production”
I will confess, I am new to the works of Jim Steinman and haven’t watched many West End musicals, mainly because when I was younger I felt musicals were lazy in storytelling. Since then I have been blown away by some fantastic musicals, but Bat Out of Hell brought back all those previous prejudices I held. This was a thoroughly disappointing production in a storytelling perspective. The story – very cliché; another young white boy (Strat) falls in love with another white girl (Raven) and both feel as though they can’t live without the other.
Set in an apocalyptic world in the year 2100 where diversity no longer exists (i.e if you were anything but white or mixed race sorry to say you didn’t make it in this apocalypse). The rich live in high towers and the anarchist youth have the Peter Pan syndrome as they are mysteriously genetically frozen to be 18 forever – because being 18 forever means you will never mature. Bat Out of Hell at times felt like Romeo and Juliet particularly in the scenes when Strat gazes up at Raven hidden upon her tower or Twilight when their love is in jeopardy for she will grow old and he will be young forever.
The dialogue was jarring, which of course didn’t give the actors much to work with, leaving the casts’ acting much to be desired, particularly the scenes with Strat and his crew, – leaving me often cringed at this caricatural acting. Many sins were committed on that stage (and I’m not even talking about the awkward projected sexy scene with Strat and Raven).
The set design aspect of this production really did it for me. Jon Bausor’s design transported the audience into the world of this production. I found myself discovering new aspects of the staging throughout the piece. One thing I also really liked was the concept of the projection of scenes as they were happening on stage. Although, this did lack structure and at times it really felt out of place and in those moments I struggled to understand the reason as to why the director had decided to have certain scenes project and others not. It did create some distancing from the acting, but I am always one for having a bit of Brechtian alienation (if there is a point to it).
Whilst the book and acting left much to be desired; the strong musical performances saved this damned production. Andrew Polec as the lead Strat delivered one of the best performances, filled with energy and passion. Vocally Polec really brought the house down and engaged us in his world.
Christina Bennington, on the other hand, as the spoilt and irritating Raven may have somewhat delivered musically but her overall performance was unforgiveable. Awkward to watch, lacked stage presence and honestly, as a storyline point I could not see why Strat was falling in love with this girl. Perhaps, it was solely her ‘purity’ he was wanting after all.
For me, I would have much rather have Danielle Steers (who played Zahara) in the role of Raven. Danielle’s characterisation of Zaraha, her presence and enchanting performance of Two Out of Three Ain’t Bad and Dead Ringer for Love left me wanting to see more of this actress. Also, not only would Danielle have brought more talent and a fantastic performance for Raven, she too would have brought a different dimension to this character and storyline; an interracial couple, a relationship we often don’t see depicted on stage.
Rob Fowler and Sharon Sexton as Falco and Sloane were rightly a dynamic duo. Even as disillusioned lovers, they still had a chemistry that was envying to watch. Particularly in their smash performance of Paradise by the Dashboard Light, their vocal range and performance were just incredible.
Sharon Sexton delivered a hilarious show stealing performance and was in my eyes one of the strongest actresses in this piece.
Whilst maybe cliché the audience on the opening night revelled in this production as they loudly cheered and gave standing ovations to the actors, which I don’t blame them for; the phenomenal house band and performances are what made this show entertaining. I just wish somebody else had written the book because most elements were there.
I guess Heaven Can Wait because I don’t see this production ascending to the top.
Take a look at the stunning new production photos for the world premiere of Jim Steinman’s Bat Out Of Hell – The Musical, which is currently in previews at the London Coliseum, opening on 20 June and running until 5 August 2017.
Photography by Specular
Directed by award-winning theatre and opera director Jay Scheib, the cast of Bat Out Of Hell – The Musical is led by Andrew Polec as Strat and Christina Bennington as Raven, with Rob Fowler as Falco and Sharon Sexton as Sloane. They are all featured in the photos, alongside Danielle Steers as Zahara and Dom Hartley-Harris as Jagwire, who perform Two Out Of Three Ain’t Bad and Dead Ringer.
Jim Steinman’s Bat Out Of Hell – The Musical is a romantic adventure about rebellious youth and passionate love, set against the backdrop of a post-cataclysmic city adrift from the mainland. Strat, the forever young leader of The Lost, has fallen for Raven, daughter of Falco, the tyrannical, ruler of Obsidian.
Jim Steinman’s previous musicals include his collaboration with Andrew Lloyd Webber on Whistle Down the Wind, including the hit single released by Boyzone, No Matter What, and the musical Tanz der Vampire, which has been running for 20 years and has been presented in Vienna, Stuttgart, Berlin, Hamburg, Paris, Budapest, Warsaw, St Petersburg and Tokyo.
As with many great works of art, the genesis of the Bat Out Of Hell album occurred across a number of years. One of the songs was written while Steinman was an undergraduate at Amherst College in the late 1960s. In the 1970s, Steinman wrote a theatrical musical that was presented in workshop in Washington D.C. in 1974 and featured many of the songs that would ultimately appear on the Bat Out Of Hell album, which was released in 1977.
Bat Out Of Hell became one of the best-selling albums in history, selling over 50 million copies worldwide. And 16 years later, Steinman scored again with Bat Out Of Hell II: Back Into Hell, which contained the massive hit I Would Do Anything For Love (But I Won’t Do That).
For the stage musical, the legendary and award-winning Jim Steinman has incorporated iconic songs from the Bat Out Of Hell albums, including You Took The Words Right Out Of My Mouth, Bat Out Of Hell, I Would Do Anything For Love (But I Won’t Do That) and Two Out Of Three Ain’t Bad, as well as two previously unreleased songs, What Part of My Body Hurts the Most and Not Allowed to Love.
Bat Out Of Hell – The Musical has book, music and lyrics by Jim Steinman, direction by Jay Scheib, choreography by Emma Portner, with musical arrangements and supervision by Michael Reed, set design by Jon Bausor, costume design by Meentje Nielsen and Jon Bausor, video design by Finn Ross, lighting design by Patrick Woodroffe, sound design by Gareth Owen, orchestration by Steve Sidwell, casting by David Grindrod Associates and musical direction by Robert Emery.
Jim Steinman’s Bat Out Of Hell – The Musical is produced by David Sonenberg, Michael Cohl, Randy Lennox and Tony Smith.
